[AiafiinqcHonie  \f'M 
fComeli^e 


A?*  iJ 


I 


c/J  tiand-fyoof^  oi  i 
ways  and  means 
of  decorating^ 
and  Seaidifijiiicj 
tfie  fiome  * * •* 
dj/^^ 

Cifeanor  Col/yi^ 

DERRY  BROTHERS 

\_)  Varnishes  Enamels  Stains  yj 

Detroit,  Walkerville,  Ont.  San  Francisco 


COPYRIGHT,  BERRY  BROTHERS 


MAKING  HOME  HOMELIKE 

John  brampton  commuted  to  the  city,  and  it  sometimes  seemed 
to  him  that  the  daily  grind,  the  living  by  clockwork,  was 
making  him  into  a machine.  Coming  home  after  a particu- 
larly trying  day,  he  confided  to  Betty  that  home  was  getting 
to  be  to  him  just  a sort  of  filling  tank,  rest-room,  and  service 
station — a place  to  get  food,  sleep,  and  repairs.  Betty  might  have 
told  John  to  get  another  manager  for  his  matrimonial  garage, 
but  she  just  waited  till  thechildren  had  gone  to  bed,  and  drew  him 
over  to  the  faded  divan  for  a good  old-fashioned  “talk-fest.” 
Glooin-chiniw’  ' ^ course,”  said  John,  “I’m  awfully  proud  of 
, ■ , you  and  the  youngsters,  but  I don’t  seem  to  get 

time  to  say  it  with  flowers  any  more.  1 have 
to  say  it  with  cinders  instead ; but  any  man  who  commutes 
twenty-three  years  for  a woman  has  surely  proven  his  affection. 
Sometimes,  though,  as  I sit  in  that  old  office,  figuring  and  esti- 
mating on  bridges  and  tunnels  for  other  men  to  build,  I cannot 
help  envying  them  their  adventures.  Guess  I’m  getting  to  be  an 
old-timer,  for  life  seems  to  be  awfully  monotonous.” 

“I  know,  dear,  ’’said  Betty.  “Of  course,  I would  not  exchange 
you  for  any  husband  ever  fabricated,  yet  sometimes  when  I have 
been  sitting  in  Mrs.  Carter’s  gay  sun  parlor  or  Mrs.  Summer’s 
cheery  library,  our  dingy  rooms  look  positively  morgue-like  to 
me.  I once  knew  an  art  student  who  had  a stuffy  little  bedroom 
in  a cheap  boarding  house,  and  she  said  that  her  idea  of  hades 
was  a tiny  hall  bedroom  with  gaudy  flowered  wall  paper  and 
stiffly  starched  coarse  lace  curtains  full  of  holes.  My  own  idea 
of  hades  is  a dark,  faded  place  with  gloomy  walls  and  mission 
furniture  standing  in  straight  rows.  Of  course,  our  house  is  not 
like  that,  but  it  needs  light  and  sunshine  and  color.  We  need 
some  one  like  Polly  King  to  tell  us  what  to  do.  She  has  always 
had  to  create  beauty  out  of  a slim  pocketbook,  but  she  is  an 
authority  on  color  schemes  and  such  things.  Polly  once  told  me 
that  she  would  love  to  spend  a summer  here.  I’ve  a notion  to  ask 
her.  We  surely  need  some  changes  made  in  our  environment,  or 
we  shall  both  get  to  be  ‘old-timers.’  ” 

2] 


AVERY  LIBRARY 
COLUMBIA  UNIVERSIf 


Because  what  Pollydid  there  andwhat  the  family 
learned  and  enjoyed  may  be  helpful  in  thousands  of 


Polly  King 
Arrives 


homes  needing  a fresh  outlook  and  inlook,  they  shall 
be  set  down  in  this  book. 

“It  is  a darling  house,’’  said  Polly 
the  morning  after  her  arrival,  “and 
there  are  oodles  of  possibilities  here. 

1 feel  like  an  Aladdiness,  only  instead  of  a magic 
lamp  I am  going  to  use  some  wonderful  enamels  and 
wall  finishes.  I know  a lot  about  paints  and  enamels, 
and  if  I am  to  help  do  things  around  here,  I want 
them  done  with  something  that  goes  on  well,  wears 
well,  and  is  beautiful  in  color  and  quality.  I know 
some  people  who  had  the  inside  of  their  summer 
home  done  two  years  ago.  They  economized  by  using 
‘cheap’  finishes,  and  when  they  opened  their  cottage 
last  spring  their  decorations  had  peeled  off  like  the  smallpox. 
The  enamel  had  cracked  on  the  woodwork  and  painted  furni- 
ture, and  the  floors  were  a sight,  for  the  poor  varnish  had  gotten 
tacky  in  the  damp,  closed  house,  and  you  stuck  to  the  floors  like 
a flv  to  sticky  fly-paper.  They  were  awfully  discouraged,  because 
the  little  that  they  had  saved  by  buying  cheap  materials  had 
been  far  overbalanced  by  the  cost  of  the  work.  It  takes  painters 
much  more  time  to  try  to  do  a smooth  job  with  poor  finishes 
than  with  good  ones.  They  have  changed  the  name  of  their  cot- 
tage to  ‘Learnalot,’  and  when  they  have  saved  enough  to  have 
it  done  over  they  will  use  Berry  Brothers’  materials. 

“However,  before  we  select  our  finishes  or  choose 
Prospecting  our  color  schemes,  we  must  go  prospecting,  just 

as  miners  do  before  they  begin  to  work  a claim. 
There  is  a great  deal  of  beauty  lying  around  here,  but  we  want 
to  get  it  located  and  then  we  shall  know  how  to  go  to  work.” 

So  after  John  had  gone  to  the  city,  Polly  and  Betty  started 
out  to  give  the  house  what  Jim,  home  from  his  senior  year 
at  college,  called  the  “once-over,”  and  he  soon  joined  them 
on  the  plea  that  few  prospecting  parties  venture  forth  with- 
out masculine  protection.  From  this  time  Jim’s  interest  in  the 
“ Polly  technic  ” course  greatly  increased. 


[3 


To  those  who  had  lived  there  so  many  years  that 
I [ the  house  seemed  commonplace  through  famil- 

iarity, it  was  a revelation  to  go  around  with  one 
who  had  an  entirely  new  viewpoint,  and  Polly’s  enthusiasm  was 
contagious.  The  little  alcove  or  cranny,  which  had  been  merely 
a dust-catcher,  became  in  imagination  the  friendly  inglenook  or 
breakfast  corner,  and  the  old  house  fairly  beamed  with  hitherto 
undreamed-of  possibilities. 

Polly’s  criticisms  were  so  apropos  and  clever  that  no  one  could 
be  offended.  Passing  through  the  library,  which  was  done  in 
dark  brown,  she  said  : “Oh,  wasn’t  it  a crime  the  way  they 
used  to  decorate  and  furnish  houses  ! Their  ideal  seemed  to  be  a 
sort  of  undertaking  establishment  de  luxe.  Nowadays  we  like 
happy-looking  houses,  and  this  one  is  going  to  have  smiles  and 
dimples  when  we  get  through  with  it. 

“These  lovely  old  mahogany  pieces  only  need  redressing,  and 
these  wicker  chairs  will  lend  themselves  finely  to  our  beauty 
treatments,  but  that  old  mission  furniture  is  so  clumsy  that  it 
overbalances  all  the  rest.  Let’s  sell  it  to  the  Board  of  Education. 
It  would  be  just  right  for  Board  meetings,  or  perhaps  some  bank 
would  buy  it  for  their  Directors’  Room.  Men  do  not  like  to  be 
comfortable  at  business  meetings.  They  luxuriate  in  agony.  It 


gives  them  a feeling  of  nobility  to  be  sitting  in  uncomfortable 
chairs  when  they  might  be  playing  golf  at  the  Country  Club.” 

Turning  to  Mrs.  Brampton,  Polly  said  : “I  think  you  are  a 
perfectly  wonderful  woman  to  have  raised  such  a jolly  family 
in  such  dark,  sober  rooms.  It  will  be  simply  impossible  to  keep 
their  spirits  down  when  we  get  the  rooms  done  over.  Even 
that  solemn  Dinah  in  your  kitchen  will  fairly  caper  with  glee.” 


T a “\es,  said  Polly,  as  they  stepped  from  the 

L he  Influence  , , , , 1 1 t,  . • , 

. J gloomy  library  into  the  red  den,  this  house 

is  going  to  forget  its  dark  past  entirely  and  to 
improve  its  disposition,  too,  for  now  the  rooms  quarrel  with 
each  other  shamelessly.  See  the  gloomy  library  scowling  at  the 
jazzy  den,  and  the  red  den  glaring  at  the  blue  dining  room  like 
a Bolshevist  eyeing  a Boston  Bluestocking. 

“They  had  a mania  for  red  rooms  in  the  old  days,  but  red  is 
a harassing  color  when  used  in  large  quantities.  It  is  used  on 
the  stage  to  express  passion  and  excitement,  but  it  is  a dreadful 
color  for  the  walls  of  a home.  You  might  manage  to  read 
Balzac’s  novels  or  the  Hearst  papers  in  a bright  red  library,  but 
vou  could  not  read  a poem  by  Edna  St.  Vincent  Millay  or  the 
Christian  Science  Monitor  there.  Once  I was  lunching  in  a house 
where  the  dining  room  was  done  in  red.  We  were  all  doing  an 
eating  Marathon  when  the  small  boy  of  the  family  choked  and 
they  had  to  call  a doctor.  His  mother  said  he  had  choked  on  a 
lish  bone,  but  I knew  he  choked  on  a red  rug  and  red  wall  paper. 

“ While  red  is  a distressing  color  to  use  in  large  masses  in 
interior  decoration,  a little  spot  of  brilliant  scarlet  often  fur- 
nishes just  the  needed  note  of  color.  For  instance,  that  stunning 
red  lacquered  Chinese  desk  is  absolutely  lost  in  this  riot  of  red 
in  the  den,  but  it  will  make  a lovely  note  of  color  against  the 
quiet  tones  of  the  living  room  later  on.” 

n/  w/  The  flowered  walls  of  the  bedrooms  became  the 

rla/n  Walls  . . c , . , . t 

T/r  ^ next  object  of  Polly  s attention,  i think  that 

Versus  Figures  • , , , , • - ,,  ■ , 

6 you  will  love  plain  walls  m these  rooms,  in- 

stead of  these  pronounced  figures.  A paper  with  showy  flowers 
protrudes  itself  into  the  room  and  makes  the  room  look  small. 
The  walls  of  a room  should  form  a background  for  pictures, 
book  shelves,  furniture  and  draperies,  and  a figured  wall  insists 
on  being  a foreground.  It  is  very  unrestful,  too.  When  I was  ill 
up  at  Aunt  Maria’s  home  in  Maine,  they  put  me  in  the  ‘spare 
bedchamber’  and  I nearly  went  wild  counting  the  blue  roses 
on  the  wall.  There  were  four  hundred  and  seven,  not  counting 
those  that  peeped  out  from  behind  the  framed  wax  flowers  and 
the  enlarged  crayon  portrait  of  Uncle  Hiram's  grandfather.  By 
the  end  of  the  summer  I felt  like  a human  counting  machine.” 


John  Inspects  a paving  once  decided  to  do  the  old  house  over, 
v , , John  determined  to  use  the  best  materials  on 

the  market.  Polly  was  a regular  Berry  Booster; 
but  he  wanted  the  advice  of  honest-to-goodness  men  before  doing 
anything  as  important  as  this,  so  he  consulted  several  business 
friends  who  had  recently  built  or  remodeled  their  homes. 

His  first  call  was  at  the  home  of  the  Jamison  Jansons,  a new 
place  which  expressed  the  last  word  in  perfection  of  finish  and 
decoration.  Mr.  Janson  showed  him  all  around  the  house,  and 
John  Brampton  noted  the  exquisitely  soft  tints  and  texture  of 
the  wall  finish,  the  beautiful  quality  of  the  woodwork,  and  the 
handsome  appearance  of  the  floors,  before  asking  what  finishes 
had  been  used.  “Oh,”  said  Mr.  Janson,  “ my  decorators  would 
not  think  of  using  anything  but  the  Berrv  Brothers’  Products. 
They  say  they  used  to  try  other  finishes,  but  they  have  found 
that  the  Berry  Brothers’  materials  are  the  only  ones  in  which 
they  can  express  their  artistic  ideas  perfectlv  and  permanently. 
We  have  not  been  here  very  long,  but  we  use  our  home  more  in 
a year  than  many  families  do  in  a decade. 

“We  entertain  constantly,  and  our  floors  have  withstood  the 
wear  and  tear  of  bridge  luncheons,  Mah  Jong  parties,  dinner 
dances,  and  D.  A.  R.  meetings.  The  hardest  test  they  have  had 
was  the  Boy  Scouts’  meeting.  It  was  a picnic  dinner  and  was  to 
have  been  eaten  out  in  the  grounds,  but  it  poured  and  the  poor 
kids  had  to  come  in  and  picnic  in  the  drawing-room,  the  dining 
room  and  all  over  the  house.  We  expected  our  Luxeberried  walls 
and  our  Liquid  Granited  floors  would  have  to  be  done  over,  but 
it  never  phased  them  a bit.  As  for  our  Berry  Enameled  wood- 
work, I guess  nothing  short  of  dynamite  would  crack  the  finish. ' ’ 
“I  know,”  said  Mrs.  Janson,  “ that  Mr.  Janson  will  never 
be  satisfied  with  the  golden  streets  in  the  next  world  unless 
they  are  finished  in  Liquid  Granite.”  “Well,  Mary,”  said  her 
husband,  “let’s  show  Mr.  Brampton  our  garden,  and  he  will  see 
that  there  is  more  than  one  Berry  Booster  in  this  family.” 

Once  out  in  the  lovely  garden  with  its  gayfurniture  and  white 
pergolas,  it  wras  indeed  Mrs.  Janson  who  expatiated  over  the  way 
the  Berrvcraft  Varnish  Stains  had  withstood  the  weather.  “The 
rains  only  seem  to  make  them  the  lovelier,”  she  said. 

6] 


r / , - - ,,  Mr.  Brampton  came  away  from  Tansonia  feelin? 

John  Visits  u lit-  , , 1 r c • j J r • c 

that  there  were  no  liner  limshes  for  new  mte- 

jintmitul  Ho/nc  riors  than  the  Berry  Brothers’  Products,  but  lie 
realized  that  the  Brampton  house  was  a very  different  propo- 
sition, so  he  took  Betty  up  to  Yonkers  to  see  an  old  house  that 
had  been  restored.  “ I’m  from  Missouri.  I have  to  be  shown,” 
he  quoted.  “You  see,  these  finishes  show  up  finely  on  new  wood 
and  new  walls,  but  it  is  quite  a different  thing  to  apply  them 
on  old  wood  trim  like  ours.” 

The  owner  of  the  Yonkers  house  was  Jack  Stebbins,  another 
business  acquaintance  of  John’s.  “I  bought  this  old  place  for  a 
song,”  he  said.  “The  owner  had  no  idea  of  its  possibilities.  It 
is  a crime  to  let  a place  go  to  ruin  as  this  had,  for  old  wood 
that  has  not  been  cared  for  simply  eats  up  enamel  and  varnish. 
I tried  several  kinds  of  finishes,  but  they  all  sank  into  the  wood 
like  water  into  a sponge.  Just  as  I was  getting  thoroughly  dis- 
couraged some  one  put  me  on  the  right  track.  The  transforma- 
tion was  produced  with  Berry  Brothers’  Varnishes  and  Stains, 
and  I've  been  a Berry  Booster  ever  since.” 

John  found  an  expert  painter,  and  when  he  said  : 
Work  Be  v/us  “Of  course,  my  men  can  use  anyfinishes  you  de- 
sire, but  I only  guarantee  results  when  we  use 
Berry  Brothers’  materials,”  John  turned  the  matter  over  to  him. 
Soon  the  carpenters  were  busy  transforming  part  of  the  big 
attic  into  a playroom  and  the  den  into  a sun  parlor,  and  the 
painters  were  at  work  in  various  rooms,  and  John  and  Jim  were 
making  themselves  useful  as  helpers.  Jim  said  that  from  con- 
stant use  of  Luxeberry  he  felt  himself  evoluting  into  a regular 
Luxeberry  artist. 


Unit]  trn/  Pa-  Polly  had  stood  in  the  doorway  looking 

, * n from  the  front  hall  through  the  vista  of  vari- 
sonauty  in  Kooms  ■ i , ° , , 

colored  rooms  on  that  prospecting  tour  through 

the  Brampton  house,  she  had  said  :“These  rooms,  each  so  different 

from  its  neighbor  in  color,  remind  me  of  an  old-fashioned  crazy 

quilt.  Where  a house  opens  up  as  this  one  does,  with  wide 

arches  and  doorways,  it  is  as  though  the  whole  lower  floor  were 

one  large  room,  and  we  must  choose  a wall  coloring  which  will 

be  becoming  to  all  of  the  rooms,  as  all  should  have  the  same 

general  background.  There  will  be  plenty  of  chance  for  touches 

of  color  in  hangings,  pictures  and  rugs.  Besides,  you  may  vary 

the  tints  of  the  walls  in  the  bedrooms  upstairs. 

“These  lower  rooms  are  rather  dark,  so  we  shall  have  to 
camouflage  the  darkness  into  sunshine  by  the  choice  of  wall 
coloring,  and  a lovely  soft,  rich  cream  tone  of  Luxeberry  with 
the  woodwork  done  in  white  Luxeberry  Enamel  will  transform 
the  rooms.  Here  in  the  hall  a couple  of  simple  pieces  of  your 
old  mahogany  and  a mahogany  stair  rail  will  add  the  right  con- 
trasting color,  and  one  of  Grandmother  Brampton’s  braided 
rugs  will  be  very  correct  and  modish  and  will  give  a touch  of 
personality  and  come-hitherness  which  a well-appointed,  hos- 
pitable hall  should  have.” 

"Woodman  To  really  appreciate  the  glimpse  of  the  hall  on 
. L ..  the  opposite  paee  you  should  have  seen  it  in 
-f  the  old  days,  when  it  was  just  a commonplace, 

dark,  unlovely  room,  and  when  the  maple  tree  outside  was  in 
daily  fear  of  being  chopped  down  to  give  more  light. 

The  women  of  our  land  have  interested  themselves  in  the 
problem  of  forest  conservation  out  in  the  vast  wooded  lands  of 
the  country,  yet  many  a woman  has  been  instrumental  in  the 
death  of  some  beautiful  tree  in  her  own  yard  because  her  rooms 
seemed  dark  and  she  knew  of  no  other  way  of  creating  the  ap- 
pearance of  lightness.  Luxeberry  Wall  Finish  is  veritable  canned 
sunshine  when  one  chooses  the  buffs,  tans,  or  creams.  These 
sunny  tones  also  make  rooms  seem  more  spacious  and  airy.  Com- 
ing into  the  transformed  hall,  John  Brampton  threw  back  his 
shoulders  and  drew  a deep  breath,  saying:  “I  gave  up  the  trip  to 
the  country,  but  1 feel  as  though  the  country  had  come  to  me.” 

8] 


ENTRANCE  HALL 

IT  may  not  be  possible  for  city  dwellers  to  have  such  a rural  approach  and 
outlook  from  the  front  door  as  this,  but  the  cozy,  welcoming  atmosphere  of 
the  entrance  hall-  its  real  charm — does  not  depend  upon  the  landscape. 

There  is  one  exterior  feature,  however,  that  is  as  vital  as  the  outstretched 
hand  to  an  approaching  guest,  and  that  is  the  appearance  of  the  front  door. 
It  should  always  present  a smiling  welcome  by  being  well  finished.  Never  let  it 
look  shabby.  A snowy  white  front  door,  such  as  can  be  produced  with  Luxeberry 
White  Enamel,  is  always  in  order  and  gives  a handsome,  durable  finish  reminis- 
cent of  colonial  times,  but  a more  beautiful  white,  because  high-grade  white 
enamel  such  as  Luxeberry  was  not  known  at  that  time.  Oak  or  other  woods, 
when  the  natural  grain  is  to  be  preserved,  should  be  finished  with  Berryspar, 
rubbing  the  last  coat  down  to  a semi-gloss  surface,  which  makes  a beautiful  and 
appropriate  finish  for  the  front  door. 

The  attractive  and  homey  look  of  the  hall  depends  largely  upon  the  finish. 
Liquid  Granite  should  be  used  on  the  floor  if  it  is  to  be  finished  in  the  natural 
wood  ; but,  if  not,  our  Lionoil  Floor  Enamel,  made  in  a number  of  attractive 
colors,  can  be  used  to  advantage  and  will  make  a handsome  finish.  The  trim  can 
be  treated  either  with  our  Luxeberry  Enamel,  if  an  enamel  finish  is  wanted,  or 
Luxeberry  Wood  Finish  if  the  interior  is  of  natural  wood.  Luxeberry  Wall  Finish 
in  the  right  shades  for  walls  and  ceilings  will  contribute  in  producing  an  artistic 
ensemble  to  an  entrance  hall  that  will  never  lose  its  charm  for  host  or  guest. 

‘ [9 


A Room  that  The  Brampton  living  room,  when  finished,  was 
I a livable, lovable  place.  One  neighbor  voiced  the 

impression  of  all  when  he  said:  “This  room 
not  only  invites  you  in,  but  urges  you  to  stay . ’ ’ 
Polly  and  Betty,  returning  from  a call  at  Mrs.  Wendling’s  ornate 
home,  looked  around  contentedly  at  the  simplicity  of  the  place. 
The  mellow  tone  of  the  Luxeberried  walls  and  the  rich  brown 
of  the  Liquid  Granited  floors  furnished  a fine  background  for 
the  more  colorful  objects. 

“Oh,”  said  Polly,  “isn’t  it  refreshing  to  get  where  the 
colors  all  live  happily  with  each  other?  Perhaps  the  colors  at 
Mrs.  Wendling’s  do  not  actually  swear  at  one  another,  but  they 
surely  do  use  loud  slang  ! When  I sat  on  that  jazzy  divan  against 
those  futuristic  sofa  pillows,  and  looked  out  over  that  array  of 
heterogeneous  colors,  I felt  as  though  I were  about  to  share  the 
fate  of  the  Irishman’s  chameleon.  They  put  it  on  red,  and  it 
turned  red.  They  put  it  on  green,  and  it  turned  green.  They  put 
it  on  black,  and  it  turned  black.  Then  they  put  it  on  Scotch 
plaid,  and  it  ‘ tee-totally  busted.’ 

“Although  there  are  many  colors  in  these  rooms,”  Polly 
continued,  “ the  walls  of  uniform  tone  and  the  uniform  color 
and  finish  of  the  floors  lead  the  eye  from  room  to  room  without 
any  ocular  jolts.  Then  we  have  repeated  the  colors  of  the  ad- 
joining room.  For  instance,  the  green  of  the  furniture  in  the 
sun-room  is  echoed  in  the  cretonne  curtains  and  cushions  here 
and  in  the  green  books  on  the  shelves.  The  little  red  Chinese 
stand  that  looked  so  unhappy  in  the  old  red  den  is  certainly 
‘ doing  its  bit  ’ to  brighten  the  corner  where  it  is. 

“Those  book-shelves  are  very  attractive.  There  is  nothing 
that  so  adds  to  the  hominess  of  a room  as  well-chosen 
books  — well-chosen  both  as  to  reading  matter  and  color 
of  bindings,  for  books  may  furnish  a beautiful  mosaic  of 
color  against  a plain  mellow-toncd  wall.  In  the  family 
rooms  the  books  reflect  the  personality  of  their  owners, 
but  let  the  shelf  in  the  guest-room  provide  a variety  of  read- 
ing matter  from  which  guests  of  varying  tastes  may  select. 
The  train  newsboy  is  quite  a psychologist  in  this  line. 
He  can  furnish  all  sorts  of  books  for  all  sorts  of  people.  ’ ’ 


LIVING  ROOM 

IN  the  living  room  the  furnishings  may  be  elaborate  or  simple  without  disturbing 
the  artistic  balance  of  the  interior.  The  harmonious  blending  of  walls,  ceiling 
and  floors  with  the  contents  of  a room  can  be  as  easily  accomplished  on  an 
economical  basis  as  when  the  most  costly  furnishings  are  installed.  The  secret 
lies  very  largely  in  the  setting  or  frame  of  the  picture,  for  every  interior  is  a pic- 
ture produced  by  the  house  owner  for  private  exhibition  to  the  family  and  friends. 

It  is  in  the  living  room  that  artistic  symmetry  and  the  home  atmosphere 
should  reach  their  highest  expression,  and  the  above  interior  is  intended  to 
illustrate  this  truth.  Note  the  simple  furnishings  and  harmonious  color  treatment 
of  trim,  walls  and  ceiling. 

It  is  intended  to  show  an  interior  treated  with  Luxeberry  Wall  Finish  in  two 
tints  on  walls  and  ceiling,  and  Luxeberry  White  Enamel  on  the  trim.  The  floors 
of  a room  of  this  kind  should  be  finished  with  Liquid  Granite,  with  an  appro- 
priate rug  laid  in  the  center,  as  indicated.  If  it  is  not  intended  to  have  a natural 
wood  floor,  our  Lionoil  Floor  Enamel  of  a suitable  tint  can  be  used  and  will 
make  an  artistic  and  satisfactory  finish. 


L11 


Colories 
versus  Calories 


J4 


Many  people  who  would  not 
think  of  going  to  a cafeteria 
because  of  the  noise  of  the  clat- 
tering dishes,  will  go  to  their  own  homes  and 
sit  in  a dining  room  where  the  colors  clash, 
and  clang  and  jangle,  and  make  loud  discords. 
Others  solemnly  sit  down  to  a dinner  and  esti- 
mate proteins  and  vitamins  necessary  to  a well- 
balanced  meal,  and  count  calories  with  the 
accuracy  of  human  adding  machines,  but  have  not  the  faintest 
idea  of  how  much  a well-balanced  color  scheme  in  a dining 
room  means  to  good  health  and  good  digestion.  As  Polly  put 
it,  “A  little  study  of  colories  would  be  better  than  this  con- 
stant harping  on  calories.” 

The  Brampton  dining  room  responded  wonderfully  to  the 
magic  of  the  Berry  Beauty  Treatments.  The  hardwood  floor  and 
fine  old  furniture  had  become  scarred  by  years  of  hard  usage, 
but  the  beauty  of  the  grain  and  the  color  of  the  wood  were 
brought  out  to  a marvelous  degree  by  the  Berry  materials. 

The  light  creamy  tan  of  the  Luxeberried  wall  gave  a feel- 
ing of  space  and  cheer,  and  this  color  was  echoed  in  the  chair 
seats  and  the  tannish  inner  border  of  the  rug. 

The  rug  was  a demonstration  of  one  way  of  obtaining  a 
good  color  scheme.  ‘‘Designers,”  said  Polly,  “often  get  their 
color  ideas  directly  from  nature.  I have  seen  artists  design- 
ing gowns,  textiles  and  interiors  from  the  combination  of 
colors  found  on  a butterfly,  a bird,  or  an  autumn  leaf.  This 
bird  that  I copied  in  my  notebook  suggests  a fine  color  scheme 
for  your  dining  room,  and  I think  the  rug  weavers  can  easily 
combine  some  of  the  old  carpets  and  rugs  to  work  out  the 
idea.” 

When  the  room  was  finished,  Polly  said  to  Mr.  Brampton: 
“When  you  bring  home  unexpected  guests  to  dinner  they  will 
not  notice  if  there  should  be  a slight  food  shortage.  The  charm 
of  the  room  will  be  sufficient.  Madame  Recamier,  so  famous 
for  her  brilliant  conversation,  was  once  giving  a dinner  and  a 
footman  whispered  to  her,  ‘Another  story,  Madame.  We  are  a 
little  short  on  the  roast.’ 

12] 


DINING  ROOM 


IT  will  be  noticed  that  extravagance  in  furnishings  has  been  avoided  in  all  the 
interiors  illustrated  in  this  booklet,  and  personal  taste  and  pocketbook  can 
be  deterred  to  in  duplicating  the  general  appearance  ot  the  dining  room  shown 
above.  The  walls  and  ceiling  show  a two-tone  effect  in  Luxeberry  Wall  Finish 
and  the  doors  and  trim  indicate  treatment  with  Luxeberry  White  Enamel.  The 
color  indicated  on  the  furniture  can  easily  be  produced  with  our  stains  and 
enamels.  The  color  scheme  suggested  is  not  arbitrary,  as  a choice  of  many  har- 
monious combinations  can  be  had  with  our  Luxeberry  Wall  Finishes  and 
Enamels.  It  is  also  worthy  of  note  how  readily  old  and  marred  furniture  can  be 
beautified  and  made  serviceable  at  a nominal  expense  by  the  use  of  our  finishes. 

It  a natural  wood  floor  is  adopted.  Liquid  Granite  should  be  used.  A final 
coat  ot  Liquid  Granite  Dull  over  a coat  ot  Liquid  Granite  will  make  a finish 
that  will  satisfy  the  most  critical,  both  as  to  beauty  and  wear. 


[13 


A Change  of 
Heart 


Of  all  the  rooms  in  the  Brampton  house,  none 
seemed  to  undergo  such  a transformation  of 
character  as  did  the  den.  As  Polly  expressed  it, 
“ That  room  has  a complete  change  of  heart.”  In  the  old  days 
the  red  walls  and  the  ponderous  furniture  had  made  the  room 
look  hot  and  uncomfortable,  like  a very  fat,  red-faced  man  with 
the  gout  ; but  with  the  passing  of  the  scarlet  paper  and  the 
clumsy  furniture  there  came  a feeling  of  spaciousness  and  rest- 
fulness, and  when  the  soft  creamy  Luxeberry  lent  its  sunshine 
to  the  walls  the  room  radiated  hospitality.  With  a faculty  for 
salesmanship  which  any  man  might  have  envied,  Polly  had  sold 
the  heavy  mission  furniture  to  be  placed  in  the  reception  room 
of  the  Brindsley  Memorial  Blind  Asylum,  where  cushions  and 
pads  concealed  the  angular  structure  and  where  the  eyes  of  the 
occupants  could  not  be  troubled  by  the  lack  of  beauty. 

The  Brampton  “ den,”  now  metamorphosed  into  a sun  par- 
lor, boasted  some  stunning  green  willow  furniture.  It  would 
have  taken  a veritable  Sherlock  Holmes  to  have  discovered 
that  this  apparently  new  set  of  furniture  had  once  been  part 
of  the  motley  array  in  the  old  living  room,  and  that  it  had 
frequently  been  threatened  with  total  extermination  because 
of  its  worn  and  dingy  appearance. 

S "nnUlicit  “Many  people,”  said  Polly,  “try  to  give  the 

' sun  parlor  a look  of  richness  and  grandeur, 

and  in  so  doing  they  belie  the  very  purpose  of 
the  room.  I think  that  a sun  parlor  wearing  rich  hangings  and 
costly  oriental  rugs  is  as  incongruous  as  sport  shoes  wearing 
high  h eels  and  jewelled  buckles  would  be.  A sun  parlor  should 
wear  sport  clothes  and  look  absolutely  comfortable.” 

A glance  at  the  opposite  page  will  serve  to  show  the  reader 
how  the  walls  and  casement  curtains  seem  to  be  sunshine  in 
tangible  form  and  how  the  green  wicker  furniture,  so  open  and 
airy,  gives  a feeling  of  out-of-doors  which  is  heightened  by  the 
gay  window  boxes  and  the  birds.  The  simple  rugs  which  were 
used  in  so  many  of  the  rooms  were  woven  from  the  old  carpets 
and  rugs.  By  selecting  and  sorting  the  old  materials  as  to  color, 
it  was  easy  for  the  weavers  to  carry  out  the  desired  color  scheme. 
In  most  cases  the  rugs  were  kept  quite  neutral  in  tone. 


SUN  PARLOR 


THIS  sun-flooded  room  makes  special  demands  on  the  finishing  operation, 
because  it  is  so  brightly  illuminated  that  all  imperfections  are  not  only 
glaringly  apparent  but  seem  magnified  under  the  merciless  light.  While  there  is 
no  rule,  a light-colored  treatment  would  seem  suitable  for  the  sun  room  ; every- 
thing light,  airy  and  graceful.  This  is  why  rattan  furniture  seems  so  well  adapted 
to  the  sun  room  and  is  so  widely  adopted  for  this  very  popular  room. 

It  the  furniture  you  have  does  not  harmonize  with  the  desired  color  scheme 
of  the  room,  a coat  or  two  of  our  Luxeberry  Enamel  or  Berrycraft  Enamel  will 
produce  the  right  tint  or  color  on  the  furniture. 

Luxeberry  White  Enamel  for  the  trim  and  two  tones  of  Luxeberry  Wall 
Finish  for  the  walls  and  ceiling  will  be  found  everything  that  could  be  desired 
tor  the  decorative  treatment.  As  is  customary  and  proper  with  all  interior  deco- 
rations of  this  character,  the  ceiling  should  be  either  white  or  a lighter  tone  of 
the  same  color  as  the  walls  : as,  for  instance,  two  shades  of  ivory,  cream,  gray, 
pink,  or  blue.  The  floors  should  be  of  natural  wood,  such  as  light  oak  or  maple, 
and  finished  with  Liquid  Granite  with  a final  coat  of  Liquid  Granite  Dull,  which 
dries  to  a smooth  satiny  finish  without  rubbing  and  makes  a perfectly  ideal 
floor  for  the  sun  room. 


[15 


" Things  are  in 
the  Saddle  and 
They  Ride 
Mankind 
were  covered 


When  Polly  first  looked  at  the  bedrooms  of 
the  Brampton  house  she  groaned  mentally.  The 
rooms  themselves  were  delightful, for  the  slant- 
ing gabled  roof  made  all  sorts  of  fascinating  al- 
coves and  “surprise  corners,”  but  the  walls 
with  figured  papers  in  patterns  so  conspicuous 
and  vociferous  that  Polly  said  to  herself  : “This  wallpaper 
would  interrupt  a silent  prayer.”  The  beauty  and  quaintness  of 
the  wall  spaces  were  entirely  lost  in  a maze  of  birds,  butter- 
flies and  flowers,  and  against  these  colorful  and  exciting  back- 
grounds dainty  pictures  seemed  “born  to  blush  unseen.” 

There  were  far  too  many  pictures  and  too  much  bric-a-brac, 
but  the  Bramptons  had  already  learned  from  the  downstairs 
results  that  restraint  should  be  used  as  to  filling  one’s  walls  and 

CD 


tables.  As  John  had  said  when  he  gazed  at  the  walls  of  the 
living  room,  from  which  quantities  of  former  things  had  been 
banished,  and  with  equal  satisfaction  at  a pile  of  bric-a-brac 
which  was  to  be  cheerfully  donated  to  a rummage  sale:  “The 
proper  place  for  that  junk  is  in  some  other  man's  house.” 

Grandmother  Brampton’s  room  had  always 
v 1 ' been  a gathering  place  for  the  younger  genera- 

(jnnjorl  Reigns  tion,  and  the  old  carpet  was  worn  threadbare; 
but  when  the  carpet  was  taken  up  the  floor  was  found  to  be  in 
good  condition,  and  when  painted  with  Lionoil  Floor  Enamel  it 
was  an  effective  background  for  rag  rug  and  old-time  furniture. 

The  walls,  in  their  new  dress  of  Light  Green  Luxeberry 
Wall  Finish  trimmed  with  White  Luxeberry  Enamel,  looked 
refreshing  and  restful;  and  when  Polly  conceived  the  idea  of 
curtaining  off  the  alcove  and  using  it  for  a day-bed  where 
grandmother  could  take  her  afternoon  nap  in  quiet  and  com- 
fort, it  added  just  the  right  touch. 

As  to  color,  Grandmother  Brampton  only  knew  that  the 
soft  greenish  and  pinkish  tones  looked  very  pretty  and  made 
her  happy,  but  Polly  explained  to  Betty  that  the  combination  of 
color  was  what  decorators  term  a “complementary  harmony.” 
“Some  day,”  she  said, “I  will  tell  you  many  interesting  things 
about  making  beautiful  color  schemes;”  and  she  did,  as  you 
will  learn  later  in  this  little  book. 


GRANDMOTHER  S ROOM 

W7  E are  illustrating  several  bedrooms  in  this  booklet  to  show  how  easy  it  is 
’ ’ to  produce  artistic  results  at  a nominal  expense.  Many  articles  of  discarded 
furniture  have  a legitimate  comeback  if  you  care  to  take  advantage  of  it.  Old  chairs, 
tables  and  odds  and  ends  that  made  their  exit  long  ago  can  be  returned  to  service 
with  the  fresh  charm  of  a young  society  debutante. 

At  first  sight  this  bedroom  might  appear  a trifle  more  elaborate  than  the 
facts  warrant.  The  chintz-covered  chair  and  attractive  bed  in  the  alcove  may  be 
a bit  deceiving,  an  artistic  value  being  given  to  the  general  effect  by  inexpensive 
draperies.  The  bric-a-brac  shelves  and  the  little  spindle-leg  table  might  well  be 
old  relics,  repaired  maybe  with  a little  glue  and  nails  and  then  beautified  with 
Berrycraft  Enamels  or  Berrycraft  Varnish  Stains.  The  utility  and  ease  of  appli- 
cation of  these  useful  Finishes  in  interior  decoration  and  refinishing  operations 
is  unlimited. 

A modified  green  is  indicated  for  both  walls  and  ceiling,  such  as  can  be  pro- 
duced easily  with  our  Luxeberry  Wall  Finishes.  The  rag  rug  is  artistic  and  appro- 
priate, although  optional ; and  the  border  of  bare  floor  should  be  treated  with 
Liquid  Granite  if  the  wood  is  to  be  in  the  natural  color,  or  Lionoil  Floor 
Enamel  if  a harmonizing  color  is  wanted. 


[17 


Adventures  in  When  John  Brampton  gave  up 
v , his  vacation  in  the  Maine 

t,UOt  1 ni&  woods  in  favor  of  remodeling 

his  home,  he  little  dreamed  how  interesting  the 
latter  would  prove,  but  as  he  and  Jim  worked 
with  the  painters  they  began  to  experience  the 
joys  of  creating  beauty. 

One  important  thing  that  they  learned  was 
that  when  woodwork  is  to  be  painted,  en- 
ameled, or  restored,  it  must  be  carefully  pre- 
pared if  one  desires  a perfect  finish.  Greasy  or 
rough  woodwork  cannot  be  camouflaged  into 
beauty  by  a coat  of  finish,  and  the  time  spent 
in  washing  it  with  soap  and  water  and  rubbing 
it  with  fine  sandpaper,  or  in  removing  a poor  finish  with  a 
coat  of  Varnish  Remover,  is  time  well  spent. 

They  also  learned  that  it  is  poor  economy  to  work  with 
cheap  brushes.  “ It  is  strange,”  said  the  old  painter,  “ but  a 
man  who  will  pay  sixty  dollars  for  a fishing  reel  often  hates  to 
pay  one  dollar  for  a paint  brush,  and  a man  who  spends  a small 
fortune  to  have  his  appendix  removed  counts  it  a waste  of 
money  to  have  old  varnish  removed.  A man  who  would  not 
think  of  going  without  an  overcoat  because  he  already  had  a 
Tuxedo,  gets  mighty  economical  when  told  that  his  woodwork 
needs  another  coat  of  finish.” 

Betty,  who  had  always  thought  that  beauty  depended  upon 
a bulging  purse,  was  astonished  at  the  effective  results  to  be 
obtained  with  inexpensive  materials.  “ It’s  the  know-how  that 
counts,”  said  Polly. “ These  simple  unbleached  spreads  with  the 
bands  of  pink  gingham  stitched  on  are  more  attractive  and 
suitable  than  the  gorgeous  silk  and  gold  creations  one  some- 
times finds  in  costly  rooms.  These  are  easily  laundered,  and 
freshness  is  as  necessary  to  the  charm  of  a bedroom  as  to  that 
of  a woman’s  dress.  ’ ’ A California  sketch  from  Polly  ’s  notebook 
furnished  a suggestion  for  the  color  scheme  of  the  room  on  the 
opposite  page.  Although  the  tints  are  much  lighter  in  the  room 
than  in  the  landscape,  it  is  not  hard  to  see  how  the  latter  fur- 
nished color  inspiration  for  the  charming,  restful  room. 


BEDROOM 

HERE  is  another  example  of  what  home  talent  can  do  in  producing  an  artistic 
bedroom  interior  at  a nominal  expense.  The  dressing  table  probably  came 
from  the  cellar  and  is  or  might  be  an  old  packing  case  trimmed  up  as  shown. 
The  chest  of  drawers  suggests  a dismantled  bureau  and  is  strongly  reminiscent  of 
the  attic,  as  also  are  the  chairs.  The  twin  beds,  which  are  about  as  simple  as  army 
cots,  might  easily  be  discarded  old-timers.  The  mirrors  suggest  part  of  the  origi- 
nal equipment  of  old  bureaus  removed  from  the  fixtures  in  which  they  used  to 
swing.  One  of  the  frames  has  been  enameled,  and  the  others  are  concealed  with 
Huffy  ruffles  to  match  the  window  trim. 

The  two  color  tones  on  walls  and  ceiling  are  easily  produced  with  our 
Luxeberry  Wall  Finishes,  and  Luxeberry  White  Enamel  is  indicated  on  the 
doors  and  trim.  The  color  shown  on  the  furniture  can  be  given  either  with  our 
Luxeberry  Enamel,  or  Berrycraft  Enamel  in  the  white,  tinted  with  green  to  the 
desired  shade. 

A floor  treated  with  Liquid  Granite  is  indicated,  but  if  a solid  color  is  wanted 
Lionoil  Floor  Enamel  of  the  desired  shade  is  entirely  suitable. 


[19 


Heat  Control  by 


Evelyn’s  bedroom  had  always  been  a source  of 
..  } disappointment  to  Betty  Brampton.  She  wished 

it  to  look  cool  and  restful  despite  the  fact  that 
it  was  a sunny  south  room  directly  under  the  eaves. 

Her  first  mistake  was  when  she  allowed  Evelyn  to  copy  the 
coloring  which  her  chum  had  in  her  shady  north  room.  This 
chum  had  spent  a winter  in  a Santa  Barbara  hotel  where  a 
pinkish  orange  is  much  in  evidence.  Used  judiciously,  and  in 
a suitable  place,  the  color  was  most  effective,  but  it  sent  the 
temperature  of  Evelyn’s  room  up  to  the  boiling  point. 

That  mistake  was  followed  by  another.  Pink  is  a lovely  color 
and  roses  are  lovely  flowers,  but  gay  pink  roses  on  the  wall  paper, 
with  chintz  curtains  to  match,  made  the  room  look  small  and 
oppressive.  One  was  almost  overpowered  by  the  scent  of  the 
multitudinous  roses,  and  the  effect  was  that  of  a cheap  but 
showy  funeral  where  the  “floral  offerings  were  most  generous.  ’ ’ 
To  Polly’s  trained  eyes  this  was  the  worst  room  in  the  house, 
but  full  of  possibilities,  and  she  said  : “When  we  get  this  room 
done  in  soft  gray-green  Luxeberry,  it  will  seem  as  though  you 
were  stepping  into  one  of  Corot's  pictures  — so  cool  and  re- 
freshing. Little  touches  of  pinkish  lavender  in  the  rag  rug  and 
in  some  of  the  accessories  will  make  a lovely  note  of  color,  too.  ’ ’ 
To  appreciate  the  picture  in  which  Evelyn’s  room  is  shown 
in  its  third  and  very  pleasing  incarnation,  you  should  have 
seen  it  when  it  sweltered  beneath  its  warm  pinky-orange 
decorations  or  gasped  beneath  its  weight  of  roses. 

Were  it  possible,  we  should  picture  the  other 
bedrooms.  Jim’s  sunny  walls  were  done  in  Fawn 
Brown  Luxeberry  with  woodwork  in  Rich 
Cream  Luxeberry  Enamel,  making  a suitable 
background  for  his  athletic  trophies,  heavy 
shelves  of  books. 

The  twins’  room  had  quaint  enameled  furniture  with  jolly 
little  decorations  done  in  gay  colors,  and  in  this  environment 
Teddy  bears  and  dolls  roamed  merry  and  rampant. 

The  guest  chamber  was  lovely  in  Light  Blue  Luxeberry  and 
white  enamel,  and  one  guest,  impressed  by  its  atmosphere  of 
rest,  softly  quoted  : “And  the  name  of  that  room  was  Peace.’’ 

20] 


The  Other 
Bedrooms  in  the 
Brampton  Home 

desk,  and  many 


AVERY  LIBRARY  x 
COLUMBIA  UNIVERSITY 


BEDROO M 


1\  /T  OST  attics  harbor  a miscellaneous  collection  of  discarded  or  unused  furniture 
■*-*  * closely  akin  to  the  examples  shown  in  this  room.  The  most  elaborate  and 
costly  furnishings  would  not  produce  a more  artistic  and  homey  look  to  a room 
than  a judicious  selection  ot  these  same  castaways  when  refinished  and  rein- 
stalled. This  bedroom  has  apparently  nothing  in  it  but  odds  and  ends.  The  little 
dressing  table,  the  simple  mirror,  the  rush-bottom  chairs,  the  little  table  by  the 
bedside,  and  even  the  bed  itself:,  might  all  be  wails  and  strays  cleaned  up  and 
treated  with  a coat  or  two  ol  Berrycralt  Enamel  or  Berrycraft  Varnish  Stain. 

The  walls  and  ceiling  ol  this  attractive  room  owe  their  simple  beauty  to 
Luxeberry  Wall  Finishes,  and  Luxeberry  White  Enamel  is  indicated  in  the  window 
trim.  Floor  margins  ol  natural  wood  should  be  treated  with  Liquid  Granite,  but 
il  a solid  color  is  preferred  use  Lionoil  Floor  Enamel  of  the  right  shade. 


[21 


In  visiting  the  famous  old  palaces  of  France, 
one  is  impressed  by  the  crudity  of  the  arrange- 


ments for  the  common  decencies  of  life.  The 


Quai  D’Orsay  Palace,  where  France  entertains  her  high  official 


visitors,  has  only  recently  installed  its  first  bathroom.  The 
shop-girl  of  modern  New  York  would  turn  up  her  calcimined 
nose  were  the  bathroom  in  her  parents’  flat  as  crude  as  that  in 
which  Queen  Marie  Antoinette  bathed. 

One  reads  of  the  splendor  of  the  ancient  baths  of  Pompeii 
and  Rome,  but  on  visiting  those  places  he  is  tempted  to  para- 
phrase Van  Dyke’s  poem  something  after  this  fashion: 

It’s  great  to  see  the  ruins  of  the  Roman  baths  of  old, 

Enriched  by  time  and  history  and  with  sculpture  and  with  gold, 

But  the  ghosts  of  bygone  emperors  may  have  their  baths  at  Rome, 

For  we  are  quite  contented  with  our  bathrooms  here  at  home. 


The  Bramptons,  like  many  other  Americans  in 
moderate  circumstances,  had  gotten  on  all 
these  years  with  only  one  bathroom.  It  was  so 


Two  Rooms 
from  One 


large  that  one  felt  as  small  as  one  of  the  nymphs  on  Corot’s 
canvas,  “The  Bathers,”  and  the  old-fashioned  tub,  standing  on 
four  clumsy  legs,  left  space  beneath  for  the  accumulation  of 
dust  and  dirt.  Jim  proposed  that  this  big  room  might  easily  be 
made  into  two  smaller  ones.  When  these  twin  bathrooms  were 
completed,  he  said:  “What’s  that  old  saying  about  blessings 
on  the  head  of  the  man  who  makes  two  blades  of  grass  grow 
where  only  one  grew  before?  There  must  be  a special  double- 
headed  blessing  for  the  man  who  makes  two  bathrooms  where 
only  one  existed  before.” 

John  Brampton  had  the  walls  finished  in  tiled  wall  board 
painted  with  white  Luxeberry  Enamel,  giving  the  effect,  dura- 
bility, and  sanitary  cleanliness  of  porcelain  tiles,  with  far  less 
expense.  As  for  the  floors,  by  this  time  the  Bramptons  needed 
not  the  affidavit  of  the  Berry  painter  to  know  that  the  Liquid 


Granite  which  beautified  and  preserved  the  wood  would  with 


stand  the  ravages  of  the  Brampton  twins,  the  shower  baths 
of  the  elders,  and  the  fervid  and  muscular  cleanings  to  which 
Black  Dinah  would  subject  them. 


BATH  ROOM 


OUTSIDE  of  the  fixtures,  the  bathroom  here  indicated  is  one  that  can  be  pro- 
duced very  economically  and  with  the  highest  artistic  value.  The  imitation 
tile  effect  on  the  walls  can  be  cheaply  installed  by  the  use  of  one  of  the  wood 
pulp  wall  boards  marked  for  tiles  that  can  be  bought  in  sheets  or  sections.  This 
pulp-board  can  be  treated  in  the  same  manner  as  a surface  of  wood  and  the  finish- 
ing process  is  easy. 

Luxeberry  Enamel  in  white  is  here  shown  on  the  trim  and  Luxeberry  Wall 
Finish  is  indicated  on  the  walls.  The  ceiling  should  be  also  treated  with  the  same 
finish,  either  in  white  or  a lighter  shade  of  the  same  color  as  the  walls.  The  floor 
indicates  the  use  of  Liquid  Granite,  which  produces  an  artistic,  smooth,  water- 
proof finish,  and  completes  a bathroom  that  will  satisfy  completely,  not  only 
from  an  artistic  standpoint,  but  from  the  economical  angle. 


[23 


In  the  old  Puritan  days  the  kitchen  was  the 
most  artistic  room  in  the  house,  but  we  should 
be  loath  to  discard  our  modern  gas  and  electric 
stoves  for  the  more  picturesque  fireplace  ovens 
of  our  ancestors,  and  our  granite  and  aluminum 
cooking  utensils  for  the  quaint  copper  and  earthenware  of  the 
olden  days.  We  have  learned,  however,  that  a kitchen  may  be  a 
really  delightful  room,  a sort  of  culinary  studio  or  workshop. 

The  Brampton  kitchen,  in  its  pre-Polly  days,  was  done  in 
such  dark  tones  that  it  was  almost  a complete  camouflage  for 
Dinah,  who  melted  into  its  shadows  so  as  to  be  almost  indis- 
tinguishable, yet  when  Pollv  suggested  doing  it  in  buffs  and 
creams  she  encountered  the  first  opposition  she  had  met. 

“It  would  show  dirt  so  easily.”  “It  would  be  impossible 
to  keep  it  clean.”  “You  know  we  have  only  one  servant.” 
These  are  only  a few  of  the  objections  raised  against  the  pro- 
posed innovation  ; but  Polly  knew  how  easily  the  Luxeberried 
walls  and  Luxeberry  enameled  woodwork  could  be  washed, 
and  how  a floor  covered  with  linoleum  and  finished  in  Liquid 
Granite  would  save  Dinah’s  time.  “It  will  be  as  good  as  mak- 
ing Dinah  into  twins,”  said  she,  “for  she  will  be  able  to  do 
the  kitchen  work  so  much  faster.  Besides,  you  will  save  on 
your  electricity,  for  Dinah  will  not  have  to  keep  the  lights  on 
as  she  does  now.  The  light  walls  will  be  as  good  as  another 
window.  Kitchens  used  to  be  dark  and  dreary  places,  where 
the  cooks  had  to  grope  their  way  around  like  tourists  in  the 
catacombs;  but,  as  the  cartoonist  says,  ‘Them  days  is  gone 
forever.’  " 


The  Kitchen 

Becomes 

Enlightened 


Dinah  ’Shn  w t r^e  en<-^  Polly’s  arguments  won  the  day,  and 
II  ^ j,  now,  when  John  and  Betty,  with  just  pride, 

show  their  friends  through  their  rejuvenated 
rooms  they  never  fail  to  exhibit  their  “model  kitchen.” 

Black  Dinah,  who  keeps  the  woodwork  in  the  whole  house 
as  “white  as  de  purley  gates,”  says:  “Lan’  sakes,  Mis’  Bramp- 
ton, if  evah  one  of  dem  mikerobes  should  get  onto  dat  wood- 
work, he’d  jest  nacherally  skid  off  an’  tu’n  turtle  an’  die  a 
nacheral  death.  An’  I sho  dos  depreciate  d is  heah  Licked 
Grannit  floor.  I washes  it  every  day  jest  fer  ’musement.” 


KITCHEN 

MAYBE  it  is  the  more  or  less  arduous  routine  in  the  culinary  department  that 
sometimes  causes  the  kitchen  to  be  referred  to  as  a necessary  evil.  It  is 
often  a case  of  nerves;  the  drab,  commonplace  surroundings  create  depression 
and  a pessimistic  attitude. 

There  is  no  place  for  gloom  in  a kitchen  like  the  one  illustrated,  although 
the  only  difference  between  it  and  some  other  kitchens  is,  it  is  properly  finished. 
It  shows  a light  treatment,  such  as  can  easily  be  produced  with  our  Luxeberry 
Wall  Finishes  on  walls  and  ceiling,  and  a Luxeberry  Enamel  Finish  in  white  on 
the  trim,  which  may  be  kept  spotless  with  a damp  cloth  and  is  very  wear-resist- 
ing. Luxeberry  Enamels  are  made  in  several  delicate  tints  in  addition  to  white, 
and  any  of  which  would  be  quite  suitable  for  the  kitchen. 

A linoleum-covered  floor  is  shown  here,  although  many  prefer  varnished 
floors,  which  are  both  handsome  and  sanitary.  Liquid  Granite  Floor  Varnish  is 
waterproof,  wear-resisting,  and  easily  kept  in  good  condition  with  a floor  mop. 
Try  it  on  your  kitchen  floor,  whether  it  is  in  the  natural  wood  or  covered  with 
oilcloth  or  linoleum. 

[25 


TheAtticEvolutes 
into  a Playroom 

don’t  want  one  of  those  dressy  nurseries  where  the  children 
have  to  wear  white  gloves  for  fear  of  soiling  the  furniture,” 
said  Polly.  ‘‘Once  I was  calling  at  a house  and  the  little 
boy  timidly  asked  his  mother  if  he  might  go  up  to  the  play- 
room. She  replied  with  more  stress  than  was  becoming  to 
one  who  was  sitting  in  a formal  period  room:  ‘I  should  say 
not!  If  you  dare  to  go  up  there  and  mess  things  up,  I’ll  spank 
you.  ’ 

“ Neither  shall  it  be  one  of  those  cold-storage  rooms  where 
children  feel  out  of  their  element.  I know  a hotel  where  they 
fitted  up  some  playrooms  for  children,  though  I never  saw  but 
two  children  in  them.  Once  I saw  a blase  poor  little  rich  girl 
sitting  in  the  Japanese  room,  and  looking  as  listless  as  a wilted 
salad.  Another  time  I saw  them  lead  an  active  little  Denver 
boy  into  the  ‘ Boy  Scout  Room,’  where  an  immaculately 
groomed  tent  lent  a formal  stiffness  that  would  have  done  credit 
to  a refrigerating  plant.  ‘ If  you  think  I can  have  fun  here,’  said 
the  incensed  boy,  ‘ you  must  think  I’m  a wooden  Indian  in  a 
cigar  store.’ 

“What  those  twins  want  is  a room  of  their  very  own,  where 
they  can  play,  and  romp,  and  imagine  things  to  their  hearts’ 
content.  If  you  will  put  in  a beaver-board  partition  to  separate 
the  children’s  room  from  the  storeroom,  we  can  make  a play- 
room that  is  a winner. 

“We  do  not  wish  any  definite 
color  scheme  up  there,  but  the 
colors  must  play  together  in  orderly 
fashion,  and  not  just  jump  wildly 
around  like  a lot  of  boys  escaped 
from  a reform  school  and  out  for  a 
day  of  riotous  noise.” 

That  the  room  was  a winner  is 
shown  on  the  opposite  page,  and 
the  Berry  Painter  tells  exactly  how 
it  was  done. 


The  attic  fascinated  Polly,  and  her  idea  of  par- 
titioning off  a part  of  it  as  a playroom  for  the 
twins  vreatlv  pleased  the  Bramptons.  “We 


PLAY  ROOM 

THE  nursery  should  not  only  be  a room  in  which  to  keep  the  children’s  toys 
and  where  the  youngsters  may  romp  and  play,  but  its  finishing  treatment 
should  be  as  carefully  and  wisely  chosen  as  for  grown-ups.  Not  only  should  the 
room  be  light  and  cheerful,  but  the  finish  must  be  wear-resisting  to  withstand 
the  stirring  activities  of  the  future  men  and  women. 

A wall  finish  should  be  used  that  can  be  washed  when  necessary,  and  that  will 
be  quite  often  if  any  part  ol  the  walls  is  within  reach  of  the  kiddies’  little  hands. 
The  trim  should  also  be  treated  with  a washable  finish,  and,  in  addition  to  this,  the 
finish  in  the  nursery  should  be  pleasing  and  harmonious  in  its  color  treatment. 

The  above  illustration  shows  a nursery  treated  in  harmonizing  tones  of  brown, 
such  as  may  be  produced  by  our  Luxeberry  Wall  Finishes,  and  the  trim  is  finished 
with  Luxeberry  White  Enamel.  If  the  room  has  a beam  ceiling  as  in  the  picture, 
the  beams  should  be  stained  to  match  the  general  color  tone  as  indicated,  and 
we  can  supply  stains  for  this  purpose. 

Varnished  floors  are  the  most  desirable  and  sanitary  for  the  nursery,  and 
Liquid  Granite  Floor  Varnish  will  give  splendid  service  because  of  its  great 
immunity  to  wear  and  tear  under  severe  conditions. 


[27 


It  seemed  to  Betty  as 


though  a new  world 


Cut  a paper  triangle  and  use  it  on  this  spec- 
trum, to  find  triads  as  suggested  by  Polly  on 
page  30. 


Analogous 

had  been  opened  to 
her  — the  world  of  color.  She  had 
loved  color  with  a sort  of  greedy  hun- 
ger before,  but  she  was  learning  to 
love  it  with  the  discriminating  zest  of 
an  epicure.  When  she  thought  of  the 
way  she  had  gorged  herself  and  the 
family  on  color,  she  wondered  that 
they  had  not  died  of  coloritis. 

“ I have  often  heard  you  speak  of  analogous  harmonies, 
complementary  colors,  and  triads,”  said  Betty  to  Polly  one 
day,  as  Polly’s  time  of  departure  drew  near.  “Do  you  believe 
you  could  make  me  understand  such  things?”  “Surely,”  said 
Polly.  “ They  are  very  simple.  It  is  the  technical-sounding  name 
that  makes  them  sound  so  hard  to  assimilate.  It  reminds  me  of 
the  boy  whose  aunt  offered  him  a piece  of  johnnycake.  ‘ No,’ 
said  he,  ‘ mother  will  not  let  me  eat  cake,  but  if  you  call  it 
corn-bread  I can  eat  it  all  right.’ 

“Analogous  colors  are  just  happy  families  of  colors.  There 
is  a family  resemblance  between  them.  Look  at  this  little  spec- 
trum and  pick  out  any  group  of  several  adjoining  colors,  and 
you  have  an  analogous  harmony.  Look  at  that  orange-brown 
bowl  of  nasturtiums,  where  the  flowers  range  from  yellow  to 
orange  and  then  to  scarlet,  and  you  see  a fine  example  of  an 
analogous  harmony.  Many  lovely  rooms  are  based  on  this  prin- 
ciple. A golden  brown  floor,  a buff  wall,  and  a creamy  ceiling, 
the  furniture  in  browns  and  soft  dull  orange  tones,  and  with  no 
notes  of  contrasting  colors,  would  be  an  analogous  harmony. 
Personally,  I like  a note  of  contrast,  so  these  Brampton  rooms  are 

not  based  on  that  particular  meth- 
od of  obtaining  a color  harmony.” 

^ , / . “ Tell  me  about 

Complementary  , 

/ , ■ , complementarv 

( 0 <ns  harmonies, ’’said 

Betty.  “You  make  these  things  so 

simple  and  easy  to  understand.” 


“They  are,”  said  Polly.  “Now  as  to  coriiple- 
mentaries,  you  know  how  a person  often  chooses 
for  her  best  friend  her  very  ‘opposite.’  They  get 
on  finely  together.  One  has  the  qualities  that  the 
other  lacks.  Well,  they  are  complementaries. 

Look  at  the  little  spectrum  and  you  will  find  that 
directly  opposite  each  color  on  the  circle  is  a 
color  that  is  a very  strong  contrast,  yet  they  are 
very  harmonious  when  they  are  allowed  to  play 
together.  They  are  complementary  colors. 

“Nature  knows  all  of  the  tricks  of  color  har- 
mony, and  she  uses  all  of  them.  She  uses  analo- 
gous harmonies  in  the  autumn  woods,  where 
the  golden  browns  of  the  foliage  tone  into  yel- 
low and  orange  and  red.  She  delights  in  complementaries,  too. 
The  shocks  of  corn,  the  orange  pumpkins,  and  the  golden 
foliage,  seen  against  the  violet  distance  and  blue  sky,  show  an 
example  of  complementary  harmony. 

“Those  old  Japanese  artists  probably  knew  nothing  of  com- 
plementarycolors,  but  they  used  them  constantly  simply  because 
their  artistic  instinct  was  satisfied  by  them.  Notice  how  rich 
the  Japanese  prints  are  in  a wonderful  blue-green,  and  almost 
always  you  find  the  contrasting  note  of  red-orange  which  just 
completes  the  harmony.  In  this  little  modern  print  the  sky  is 
a rich  dark  blue,  and  the  artist  felt  that  he  needed  a touch  of 
orange  to  balance  his  picture,  so  he  used  it  in  signing  his  name, 
and  it  is  a perfect  example  of  complementary  harmony. 

“ Maxfield  Parrish,  that  master  of  color,  frequently  uses  a 
combination  of  colors  showing  blues  and  violets  with  their 
complementaries,  yellows  and  oranges.  Those  Maxfield  Parrish 
advertisements  for  the  Mazda  Light  have  been  a veritable  source 
of  art  culture  to  the  American  public.  Were  all  advertisements 
as  lovelv  as  those,  there  would  be  no  need  of  a crusade  ayainst 

J 1 O 

posters. 

“ The  orange  and  blue  color-scheme  is  very  popular  in  Cali- 
fornia. One  meets  it  everywhere  in  the  quaint  little  inns  and 
attractive  hotels,  but  it  would  need  to  be  much  modified  to  be 
suitable  in  everyday  use  in  the  home. 


[29 


Another  Set  of  “r Green  ,and  red  fo™  another  set 
,,  , , of  complementaries  that  seem  par- 

Complementary  ticu]arl\.  happy  t0gether. 

“I  once  saw  a wonderful  painting  by 
John  Alexander  and  it  was  a remarkable  example  of 
a complementary  harmony  used  in  pictorial  art.  I 
made  a quick  little  pencil  sketch  of  it  from  memory, 
here  in  my  notebook,  but  it  can  give  only  the  faint- 
l est  suggestion  of  the  beauty  of  the  real  picture.  You 
^ can  see,  however,  how  the  scarlet  flower  in  the  girl’s 
hair  is  just  the  right  note  of  color  to  contrast  with 
the  green  gown  and  the  greenish  tones  in  the  background. 

“ The  other  day  when  we  saw  the  child  in  the  red  dress  in 
the  park,  she  made  a stunning  dash  of  color  against  the  green 
of  the  grass  and  trees  when  she  was  quite  a distance  away,  but 
when  she  came  close  to  us  we  thought  she  looked  much  too 
hot  and  red.  Artists  know  that  a small  spot  of  vivid  color 
balances  a large  area  of  more  quiet  color. 

“Complementary  colors  are  often  used  very  effectively  in 
interior  decoration.  Grandmother  Brampton’s  room,  in  its  soft 
greens  and  old  rose  tones,  is  an  excellent  example  of  this.” 

“Are  triads  as  easy  to  understand  as  comple- 
I /,  mentaries?”  asked  Betty,  and  in  answer  Polly 

took  her  scissors  and  cut  from  paper  an  equi- 
lateral triangle.  Then  she  laid  it  on  the  spectrum  so  that  its 
three  points  touched  the  circumference  of  the  color  circle,  and 
said:  “These  three  colors  touched  bv  the  three  points  form  a 
triad.  Swing  the  triangle  around  and  find  other  triads.  Yellow, 
red  and  blue  form  a triad.  Grayed  and  softened  and  modified,  you 
will  find  this  triad  used  in  all  sorts  of  decorative  ways.  The 
rug  in  the  dining  room  and  the  colors  of  the  bird  show  this 
particular  triad  in  a modified  form,  though  the  colors  seem  quite 
removed  from  the  red,  yellow  and  blue  of  the  parent  spectrum. 

“The  California  sketch  which  we  used  as  a color  suggestion 
for  your  own  room,  Mrs.  Brampton,  is  a perfect  example  of  a 
triad,  being  pale  tints  of  the  blue-green,  red-violet,  and  yellow- 
orange  of  the  spectrum.  So,  you  see,  you  are  sleeping  in  a triad 
and  never  knew  it,”  said  Polly  with  a merry  laugh. 

30] 


i I The  house  was  finished,  and  Polly’s  happy 
' ‘ summer  in  the  country  was  almost  over.  It  had 
L//.\J-i>  i ) I h//i  peen  a joy  to  see  t}le  0]j  house  shed  its  mantle 
of  gloom  and  put  on  the  garments  of  happiness.  She  hated  to 
leave  it  all.  Jim  saw  nothing  but  a dreary  waste  of  desert  in  life 
unless  Polly  would  consent  to  transform  it  into  a garden.  Polly 
loved  him,  but  there  were  three  years  of  difference  in  their 
ages,  and  Polly,  at  the  ripe  old  age  of  twenty-six,  told  Jim  that 
she  might  be  old  and  decrepit  before  he  reached  his  prime. 

Next  week  Jim  was  to  begin  work  in  the  Brainard  factory,  in 
a position  which  held  a splendid  future  for  him,  and  he  only 
asked  Polly  to  wait  a couple  of  years  till  he  could  get  started. 

She  was  putting  the  last  strokes  on  some  Luxeberried  furni- 
ture for  the  breakfast  alcove.  “I  think,”  said  Polly,  ‘'that  this 
complementary  color  harmony  has  worked  out  stunningly  on 
this  furniture,  and  no  one  would  dream  that  your  mother’s 
brown  pickle  jar  could  change  into  this  lovely  green  vase.” 

Jim,  looking  at  her  auburn  hair  and  deep  blue-violet  eyes, 
said:  “And  I think  that  you  yourself  furnish  the  best  comple- 
mentary color  scheme  of  all;  and  when  you  get  to  be  Mrs. 
James  Brampton  and  are  all  dolled  up  in  the  things  you  deserve 
to  have,  no  one  will  believe  that  you  once  wore  an  old  gingham 
smock  all  daubed  with  Luxeberry  in  all  colors  of  the  rain- 
bow.” Polly,  looking  at  this  fine  manly  fellow,  forgot  the 
awful  chasm  of  years  which  separated  them  and,  paraphrasing 
the  old  Bible  verse,  said:  “I  guess  it  is  going  to  be  a case  of 
where  thou  goest  I will  go,  and  where  thou  lodgest  I will 
lodge,  and  there  will  I be  Luxeberried.” 


FACTS  THAT  EVERY  HOME  BUILDER  SHOULD 
KNOW  ABOUT  VARNISH  AND  WOOD  FINISHING 


A Necessary 
Preliminary 


EVEN  though  your  finishing  operations  are  in  competent  hands,  there  are 
many  fundamentals  concerning  the  treatment  of  woods  that  you  should 
be  in  touch  with.  There  are  three  main  causes  for  a poor  or  unsatis- 
factory finish  on  the  woodwork,  and  they  are 

Incompetence, 

Carelessness, 

Poor  Materials. 

You  can  overcome  all  these  handicaps  if  you  will  take  a little  active  per- 
sonal interest  in  the  wood  finishing,  and  be  guided  by  the  hints  and  informa- 
tion briefly  given  herein. 

It  is  of  the  utmost  importance  to  have  a clean,  smooth  sur- 
face if  a first-class  finish  is  desired.  To  this  end  all  finishing 
operations  in  natural  woods  should  be  commenced  by  sand- 
papering the  surface  to  be  finished  until  it  is  perfectly  smooth.  A smooth  sur- 
face is  just  as  necessary  whether  the  job  is  to  be  varnished  or  not.  The  fine 
appearance  of  both  dull  and  gloss  finishes,  whether  produced  with  varnish, 
enamel,  wax,  or  any  other  material  or  method,  depends  very  largely  upon  a 
proper  finishing  surface. 

Another  desirable  and  even  necessary  condition  for  a first- 
class  job  of  varnishing  is  the  temperature.  The  proper  tem- 
perature in  which  to  spread  varnish  is  about  70  degrees  F.  and  if  you  demand 
a first-class  finish  you  should  see  that  the  necessary  heat  is  supplied. 

Varnish  is  very  susceptible  to  atmospheric  conditions,  and  cannot  dry 
properly  in  a cold  room.  If  varnish  has  been  exposed  to  a low  temperature 
long  enough  to  cause  it  to  become  thick,  it  should  be  allowed  to  stand  in  a 
warm  room  until  it  regains  its  normal  consistency. 

Reducing  with  turpentine  is  sometimes  resorted  to,  but, 
although  this  may  be  a quicker  way  to  prepare  varnish  for 
the  brush,  it  creates  unnatural  conditions  and  injures  the  lustre. 

A nice  egg-shell  gloss,  or  rubbed  finish  demands  two  coats 
of  varnish — Luxeberrv  Wood  Finish  will  give  a handsome 
finish  with  two  coats.  If  you  have  any  finishing  to  do  that 
requires  a high  polish,  three  coats  of  varnish  should  be  used. 

The  cause  of  many  an  unsatisfactory  job  of  finishing  may  be  traced  to 
hurried  work.  The  allowance  of  sufficient  time  between  coats  is  a rule  that 
cannot  be  broken  without  injury  to  the  finish. 

It  is  the  inevitable  tendency  of  all  woods  to  grow  darker 
with  age,  hut  when  it  is  desired  to  preserve  the  natural  color 
of  the  wood  as  long  as  possible,  apply  a thin  coat  of  white 
Shellac  direct  to  the  wood,  and  then  proceed  with  the  filling 
The  reason  for  this  is  that  oil  (which  is  present  in  both 


How  Many 
Coats 


Why  Woods 
Turn  Dark , and 
I loir  to  Defer  It 

and  varnishing. 


Filler  and  Varnish)  when  applied  directly  to  the  wood  causes  it  to  turn  dark. 
32] 


Bv  commencing  with  a thin  coat  of  Shellac  as  suggested,  the  oil  in  the  Filler 
and  varnish  cannot  penetrate  the  pores  of  the  wood  which,  consequently, 
retains  its  natural  color  longer  than  it  otherwise  would. 

The  Shellac  treatment  only  defers  the  darkening  of  the  wood,  however,  as 
the  action  of  the  light  will  darken  all  woods  in  time. 

It  will  be  understood  that  the  foregoing  suggestions  apply  mainly  to  woods 
finished  in  the  natural  color;  when  woods  are  stained,  the  darkening  is  not  so 
observable,  although  a deeper  tone  will  be  acquired  in  time. 

I ^ , n Whenever  a coat  of  Shellac  is  given  it  should  be  applied 

‘ n“-'r)  thin  and  then  sanded  down  so  that  no  film  remains  on 

the  surface,  as  a heavy  coat  of  Shellac  might  cause 
the  varnish  coats  to  crack. 


Confer  with 
Your  Painter 


STAINS  AND  STAINING 

, , , When  woods  are  to  be  stained,  the  first  operation  in  the  fin- 

//  B re  11  ’ 7 ashing  process  is  the  staining.  Whether  the  wood  is  open  or 

‘ lC  ‘ close  grained,  the  stain  should  be  applied  direct  to  the  wood. 

The  same  stain  will  not  produce  precisely  the  same  color  on  all  woods.  There 
, ,,  will  be  a variation  according  to  the  wood.  Soft  woods  absorb 

,,  p , ..  more  stain  than  hard  close  grain  woods,  so  that  the  color 

■ r°  Ain t'JWj  effects  would  be  darker  in  tone.  Then,  again,  hard  woods 
Coloron AllW oocls  , , , • • j-nr 

with  pronounced  grain  or  markings  will  take  stain  in  differ- 
ent manner  from  woods  showing  no  grain.  The  reason  for  this  is  that  the  stain 
penetrates  more  deeply  into  the  open  or  spongy  portions  of  the  wood,  while 
the  harder  parts  of  the  wood — the  grain  or  markings — are  much  less  absorbent 
and,  consequently,  show  up  lighter  in  color,  changing  the  general  color  effect. 

It  is  well  to  remember  this  when  you  have  any  wood  stain- 
ing under  wav,  and  talk  the  matter  over  carefully  with  your 
painter,  having  in  mind  the  color  or  effect  desired  and  the 
kind  of  wood  to  be  treated.  Either  water,  oil,  or  acid  stains  can  be  used  for 
wood  staining  operations. 

r . Water  or  acid  stains  produce  bright  and  transparent  color 

Comparative  a , • riuii-  j - i 

1 1 'urk in ' / / effects,  but  require  careful  handling  to  avoid  raising  the  grain 

' A,  u of  the  wood.  If  these  stains  are  well  rubbed  into  the  wood 
with  a bunch  of  cheesecloth,  there  will  be  less  danger  of  grain 
raising,  as  the  cloth  will  absorb  the  surplus  moisture  and  at  the  same  time 
make  an  even  color  tone.  If,  however,  water  stains  are  applied  and  allowed  to 
soak  in  without  wiping,  the  excess  moisture  will  cause  the  wood  to  swell  and 
raise  the  grain.  Oil  stains  also  produce  beautiful  color  effects,  but  a trifle  less 
bright  than  water  stains.  Oil  stains  are  often  preferred  because  thev  do  not 
need  quite  such  careful  handling  and  will  not  raise  the  grain  of  the  wood. 
They  are  not  quite  so  transparent  as  water  stains,  although  they  do  not 
obscure  the  grain  of  the  wood  to  any  marked  extent. 

It  is  well  to  remember  that  water  or  acid  stains  cannot  be  safely  shipped 
during  the  winter  months,  as  they  freeze  when  exposed  to  a low  temperature. 

[33 


Staining 
Old  Work 


In  refinishing  an  old  job,  always  use  Oil  Stains.  The  reason 
for  this  is  that  other  stains  perform  their  work  by  absorp- 
tion, and  in  old  work  the  porous  properties  of  the  wood  are 
either  destroyed  or  impaired  by  the  previous  finishing,  so  that  the  stain  can- 
not penetrate. 

FILLING 


The  Filling 
Operation  Must 
Re  Thorough 


In  finishing  open  grain  woods  such  as  oak,  chestnut,  mahog- 
any, etc.,  the  operation  of  filling  is  a very  important  one,  as 
it  is  the  foundation  of  the  finish.  The  fibre  or  grain  of  the 
wood  must  be  filled  with  a good  paste  filler,  rubbed  well  in 
across  the  gram,  so  as  to  fill  up  all  the  interstices  and  level  up  the  surface. 
This  is  a process  that  is  sometimes  slighted,  and  when  it  is,  the  finish  will 
show  it  by  numerous  tiny  depressions  where  the  filler  did  not  penetrate.  An 
imperfectly  filled  job  will  never  make  a perfect  finish,  no  matter  how  manv 
coats  of  varnish  may  be  given  to  cover  up  the  defective  filling. 

A poor  job  of  filling  is  sometimes  caused  by  using  the  filler 
too  thin.  The  filler  as  it  comes  in  the  can  should  be  reduced 
for  use  in  the  proportion  of  from  6 to  9 lbs.  to  the  gallon, 
according  to  the  open  grain  of  the  wood.  Very  open  grain 
woods  require  the  heavier  filler.  It  is  also  essential  to  apply  the  filler  liberally, 
and  allow  it  to  remain  on  the  surface  long  enough  to  set  a little  before  wiping 
off.  If  wiped  off  too  soon,  or  if  the  filler  is  too  thin,  the  open  grain  of  the  wood 
will  not  be  properly  filled  and  the  finishing  surface  will  be  imperfect. 

The  thinner  the  filler  is,  the  more  quickly  it  is  wiped  off,  and  the  easier  the 
operation  is.  When  the  filler  is  of  the  right  consistency,  and  it  has  been 
allowed  to  stand  a short  time  after  applying,  it  is  much  harder  to  work,  and 
this  is  one  reason  why  the  operation  of  filing  is  sometimes  slighted. 

Among  the  open  grain  woods — all  of  which  require  filing 
with  paste  flier — are  Oak,  Ash,  Chestnut,  Mahogany,  Wal- 
nut, Prima  Vera,  Butternut,  etc.  These  are  not  all  the  open 
grained  woods  employed  for  interior  trim,  but  they  are 
among  those  most  commonly  used. 

Among  the  close  grained  woods  are  Pine,  Maple,  Cherry,  Birch,  Cypress, 
Redwood,  Gumwood,  Sycamore,  Whitewood,  Beech,  etc.  These  woods  and 
others  like  them  do  not  need  filing. 


LIQUID  FILLERS 

Liquid  Fillers  are  not  fliers  in  the  strict  sense  of  the  word, 
but  are  “first  coaters,”  and  could  not  be  used  to  fill  the  open 
grain  of  such  woods  as  Oak,  Ash,  Chestnut,  etc.  Liquid 
Fillers  have  their  uses  as  first  coaters  on  various  finishing 
operations,  but  they  are  not  intended  for  fine  jobs  of  natural  wood  finishing, 
and  we  do  not  encourage  their  use  for  nice  operations  of  interior  trim. 

Do  not  use  Liquid  Fillers  for  floor  finishing  under  any  circumstances. 

34] 


Uses  and 
Limitations 
of  Liquid  Fillers 


Necessity 
for  Cure  in 
i 'se  of  Shellac 


THE  USE  OF  SHELLAC 

Shellac  is  very  commonly  used  as  a first  coat  in  wood  finish- 
ing operations,  and  makes  a hard  non-porous  foundation 
that  is  ideal  as  a finishing  surface.  It  must  be  remembered, 
however,  that  Shellac  is  a quick-drying  Spirit  Varnish,  and 
while  it  makes  a hard  surface,  it  is  non-elastic.  It  is  desirable,  therefore,  that 
the  Shellac  coat  shall  be  applied  very  thin,  or  sanded  down  thoroughly  so 
that  no  film  is  left  on  the  surface.  This  prevents  any  possibility  of  the  varnish 
cracking  as  it  might  over  a heavy  coat  of  Shellac. 

I ( yy.  ija  A thin  coat  of  Shellac  over  the  Stain  Coat  develops  the  color 

Sp  trine! i and  is  desirable,  although  not  necessary.  A light  coat  of 

Shellac  over  the  filler  coat  on  open  grained  woods  is  also 
good,  care  being  taken  to  sand  it  down  close,  so  that  while  the  Shellac  re- 
mains in  the  pores  of  the  wood,  none  remains  on  the  surface. 

Shellac  is  especially  useful  as  a first  coat  on  sappy  woods,  such  as  Yellow 
Pine  and  Cypress.  The  Shellac  coat  keeps  the  sap  from  oozing  out  and  marring 
the  finish,  but  it  should  be  sanded  down  as  suggested.  If  the  woods  are  to  be 
stained,  the  Shellac  coat  should  follow  the  staining. 

The  use  of  Shellac  should  he  avoided  for  first  coats  on  floors  that  are  to  be  varnished. 

WOODS  BEST  ADAPTED  FOR  ENAMELING 


\ Vfr//.  fllVQjr  Some  woods  are  better  adapted  for  a white  enamel  finish 
m Select!!’*  Wood  rh;in  others,  and  the  most  satisfactory  effect  depends  largely 
upon  the  selection  of  the  wood.  It  is  best  to  choose  woods 
that  are  the  most  neutral  in  the  matter  of  color,  grain,  and  markings.  Open 
grained  woods,  such  as  Oak,  Chestnut,  Ash,  etc.,  should  be  avoided,  if  possible. 

The  ideal  enamel  finish  shows  a surface  as  smooth  as  a sheet 
of  celluloid  or  ivory.  It  may  either  be  brilliant  or  dull,  and 
pure  white  or  a tint  as  may  be  preferred,  but  perfect  smooth- 
ness without  a hint  of  grain  or  roughness  is  essential  in  a 
first-class  job  of  enameling.  To  get  this  result,  however,  you 
must  use  a suitable  wood,  the  right  enamel,  and  see  that  every 
step  of  the  finishing  process  is  carefully  done.  Among  the  woods  most  suit- 
able for  finishing  in  enamel  are  whitewood,  white  pine  and  white  maple.  Birch 
and  gumwood  are  also  good,  although  the  color  is  darker  and  both  these  woods 
are  sometimes  marked  with  dark,  sappy  streaks,  that  are  objectionable.  Care 
should  be  taken,  therefore,  to  select  the  wood  and  reject  sappy  boards,  retain- 
ing only  those  that  are  the  most  uniform  in  color.  Yellow  Pine  is  sometimes 
used  for  enameling,  but,  although  it  is  a close  grained  wood,  the  broad  mark- 
ings sometimes  raise  during  the  process  of  finishing,  which  gives  a ridgy  effect 
and  destroys  the  smooth  appearance  of  the  finish. 


An  Absolutely 
Smooth  Job  of 
Enameling 
Defends  Largely 
Upon  the  Wood 


A RUBBED  FINISH 


The  beauty  of  the  smooth  velvety  finish  known  as  an  “egg 
shell  gloss”  is  well  known  and  always  admired.  It  is  pro- 
duced by  rubbing  the  final  coat  of  varnish  when  perfectly 
hard  with  pulverized  pumice  stone  and  raw  linseed  oil,  or 

[35 


Oil  Rubbed  and 
W ater  Rubbed 
Finishes 


crude  oil  applied  with  a piece  of  thick  felt  or  flannel.  Sometimes  water  is  used 
for  the  lubricant  instead  of  oil,  and  this  makes  a smooth  finish  similar  to  the 
egg  shell  gloss,  but  a little  more  dull. 

The  rubbing  process  is  the  most  expensive  operation  in  wood  finishing,  and 
is  sometimes  dispensed  with  for  reasons  of  economy.  If  a really  good  varnish 
is  used  such  as  our  Luxeberrv  Wood  Finish,  or  Liquid  Granite,  it  is  not  neces- 
sary to  go  to  the  expense  of  rubbing  as  soon  as  the  varnishing  is  done.  The 
operation  of  rubbing  may  be  deferred  for  a year  or  two  and  the  effect  will  be 
just  as  handsome  as  if  the  finish  had  been  completed  when  the  varnish  was 
applied. 

This  lapse  of  time  between  varnishing  and  rubbing  is  not  feasible,  however, 
when  a poor  or  unsuitable  finish  has  been  used  on  the  woodwork,  only  a high 
grade  and  appropriate  varnish  will  stand  this  treatment. 

A handsome  rubbed  effect  without  the  expense  of  rubbing  can  be  given 
with  a final  coat  of  Luxeberrv  Wood  Finish  Dull,  which  dries  naturally  to  a 
smooth  dull  surface. 

POLISHED  FINISH 


Dry  Cleaning 
with  a Dust 
Cloth 


This  is  the  smooth,  brilliant  finish  usually  seen  on  pianos,  but  it  is  very  sel- 
dom adopted  for  the  interior  trim  in  house  finishing.  It  is  produced  by  giving 
the  rubbed  finish  described  above  a further  rubbing  with  pulverized  rotten 
stone  and  Berrykristal  polish  applied  with  a piece  of  soft  felt. 

GLOSS  FINISH 

This  means  that  the  last  coat  of  varnish  is  allowed  to  remain  in  the  natural 
gloss — an  unrubbed  finish. 

CARE  OF  VARNISHED  WOODWORK 
Interior  trim  that  has  been  properly  varnished  or  enameled 
is  easily  taken  care  of.  It  needs  practicallv  no  attention,  but 
an  ordinary  dusting  the  same  as  furniture  receives,  and  dust 
accumulates  very  slowly  on  upright  surfaces  like  interior  trim. 
Wiping  occasionally  with  a damp  cloth  and  rubbing  dry  with  a piece  of 
soft  cotton  or  cheese  cloth  will  keep  the  finish  in  perfect  order.  A too  vig- 
orous cleaning  by  an  over-zealous  maid  will  do  more  harm  than  good  to  a 
varnished  surface.  Even  if  the  finish  should  become  badly  smeared  or  soiled  by 
juvenile  hands,  a wet  cloth  will  repair  the  damage.  A little  pure  soap — castile 
for  choice — and  cold  or  tepid  water  will  not  hurt  good  varnish,  although  it 
is  seldom  necessary  to  use  them  on  the  interior  trim. 

yy  y y r Should  any  portion  of  the  interior  trim  become  badly  soiled 

, \ 1 p , , by  much  handling,  and  the  finish  need  brightening  up,  use  a 

,nni  an  <>  /i  ptt]e  Berrykristal  polish.  Apply  it  sparingly,  and  rub  it  off 

thoroughly,  the  same  as  on  a piece  of  furniture.  Never  use  washing  powders 
or  fluids,  or  other  cleansing  preparations  on  fine  varnished  surfaces,  as  many 
of  these  contain  sufficient  alkali  to  injure  the  finish. 

No  amount  of  care  will  prolong  the  life  of  a poor  varnish,  and  that  is  why 
we  would  again  emphasize  the  ultimate  economy  of  using  good  and  appro- 
priate finishes  on  the  woodwork. 

36] 


REFINISHING  OPERATIONS 

In  doing  a job  of  refinishing,  there  are  so  many  points  to  he  considered,  and 
conditions  vary  so  widely,  that  no  exact  formula  can  be  given. 

Sometimes  it  is  necessary  to  remove  the  old  finish  right  down  to  the  wood 
and  completely  refinish,  commencing  with  stain,  as  on  a new  job. 

For  removing  old  varnish  coats  cleanly  and  quickly,  there  is  nothing  better 
than  our  Apex  Varnish  and  Paint  Remover.  When  a different  style  or  color  of 
finish  is  wanted,  there  is  no  other  way  to  produce  a satisfactory  job  except  by 
completely  removing  the  old  finish. 

If  it  is  simply  desired  to  apply  another  coat  over  an  old  var- 
nished surface,  and  the  undercoats  are  in  fair  condition,  care 
should  be  taken  before  applying  the  varnish  that  the  surface 
is  perfectly  clean  and  free  from  grease.  If  the  finish  is  checked 
or  cracked,  it  must  be  remembered  that  varnish  is  transparent  and  when 
applied  over  such  imperfections  will  not  hide  them. 

Sometimes  an  old  varnished  surface  can  be  given  a good 
cleaning  and  then  a coat  of  our  Liquid  Granite  Dull,  which 
dries  to  an  artistic  dull  finish,  and  makes  a very  nice  ap- 
pearance. Every  operation  of  refinishing  woodwork  is  an  individual  problem 
that  must  be  decided  upon  its  own  merits,  and  it  is  sometimes  best  to  consult 
a reliable  painter  who  understands  wood  finishing.  There  is  one  point  the 
house  owner  should  always  bear  in  mind,  and  that  is,  the  question  of  refinish- 
ing is  one  that  arises  very  seldom  when  the  original  finish  is  properly  done 
with  the  right  materials. 

Well  finished  woodwork  retains  its  beauty  for  many  years,  and  refinishing 
is  unnecessary  unless  the  owner  wants  something  different. 

The  front  door  is  an  exception.  This  should  be  given  a coat 
of  Berryspar  every  year.  The  expense  is  trifling,  and  is  more 
than  justified  both  from  an  artistic  and  a practical  standpoint. 

CONDENSED  FINISHING  FACTS 

When  you  are  definitely  considering  the  treatment  of  your  interior,  two 
questions  will  arise, — what  finish  to  use;  how  many  coats  are  necessary  to 
produce  a satisfactory  result. 

The  treatments  suggested  will  produce  entirely  satisfactory  results. 

FOR  A RUBBED  FINISH 

( Open  Grained  Woods ) 

Stain,  fill  with  paste  filler,  one  thin  coat  of  Shellac,  and  two  coats  of  Luxe- 
berrv  Wood  Finish.  Rub  last  coat  when  hard  with  pulverized  pumice  stone 
and  oil  or  water.  Staining  is  a matter  of  individual  taste,  and  can  be  omitted, 
but  all  open  grain  woods  must  be  filled  with  paste  filler. 

If  Luxeberry  Wood  Finish  is  used,  the  rubbing  process  can  be  deferred 
indefinitely. 


[37 


FOR  A GLOSS  FINISH 

( Open  Grained  Woods ) 

Follow  the  above  directions,  but  omit  the  rubbing. 

RUBBED  EFFECT  WITHOUT  RUBBING 

( Open  Grained  Woods') 

Stain,  fill,  one  thin  coat  of  Shellac,  one  coat  Luxeberry  Wood  Finish,  one 
coat  Luxeberry  Wood  Finish — Dull,  which  dries  with  an  excellent  rubbed 
effect  when  applied  over  a gloss  coat,  and  saves  the  cost  of  rubbing. 

WAX  FINISH 

( Open  Grained  Woods ) 

Stain,  fill,  and  give  one  or  two  coats  of  Berry  Brothers’  Floor  Wax  applied 
according  to  directions  on  the  can. 

WAX  EFFECT  WITHOUT  WAX 

( Open  Grained  Woods) 

Stain,  fill,  one  coat  of  Shellac,  and  one  coat  of  Liquid  Granite  Dull. 

FLOOR  FINISHING 

( Open  Grained  Woods) 

Fill  with  light  or  dark  paste  filler,  and  apply  two  thin  coats  of  Liquid 
Granite.  The  last  coat  can  be  rubbed  or  allowed  to  remain  in  the  natural  gloss 
as  may  be  preferred.  A handsome  rubbed  effect  without  the  expense  of  rubbing 
can  be  given  with  a final  coat  of  Liquid  Granite  Dull,  which  dries  naturally 
to  a smooth  dull  surface. 

CLOSE  GRAINED  WOODS 

Proceed  in  the  same  way  as  for  open  grained  woods,  but  omit  the  Filler.  A 
final  coat  of  Liquid  Granite  Dull,  which  dries  naturally  to  a smooth  dull 
finish,  will  produce  a handsome  rubbed  effect. 

ENAMEL  FINISH 

Two  coats  of  Luxeberry  White  Primer  and  two  coats  of  Luxeberry  White 
Enamel  will  make  a handsome  finish  over  a smooth  and  suitable  surface.  It  is 
essential  that  the  priming  coats  make  a solid  white  surface  before  applying 
the  finishing  coats  of  enamel,  therefore  a coat  of  good  white  lead  paint  should 
be  applied  directly  to  the  wood. 

WALL  FINISHING 

One  coat  of  Luxeberry  Wall  Size,  and  two  coats  of  Luxeberry  Wall  Finish 
of  the  desired  color.  It  is  understood  that  the  wall  must  be  properly  surfaced 
up  before  finishing.  The  treatment  indicated  applies  to  both  walls  and  ceilings. 

SHINGLES 

Dip  two-thirds  their  length  before  laying,  and  give  one  brush  coat  after 
laying.  If  laid  before  staining,  give  two  brush  coats. 

38] 


BASEMENT  FLOORS 

See  that  the  surface  is  dry  and  clean,  and  give  two  coats  of  Luxeberry 
Cement  Coating  applied  according  to  the  simple  directions  on  the  package. 

COVERING  CAPACITIES 

( One  Coat) 

A gallon  of  varnish  will  cover  about  600  square  feet. 

A gallon  of  Shellac  will  cover  from  500  to  750  square  feet  according  to  its 
body — or  consistency. 

A gallon  of  Water  Stain  or  Acid  Stain  will  cover  from  500  to  600  square  feet 
on  hard  woods.  It  will  cover  more  surface  on  close  grain  hard  woods  than  on 
the  open  grain  varieties.  On  soft  woods  the  covering  capacity  will  be  from 
too  to  zoo  feet  less  to  the  gallon,  as  soft  woods  absorb  the  stain  more  readily. 

A gallon  of  Oil  Stain  will  cover  from  500  to  600  square  feet  on  all  woods. 

A gallon  of  Paste  Filler  as  reduced  for  use  covers  about  300  square  feet;  and 
from  6 to  9 pounds  of  paste  filler  are  required  to  make  a gallon. 

A gallon  of  Shingletint  covers  about  160  feet  if  brushed  on;  il2  gallons 
covers  the  same  surface,  two  coats.  From  zj4  to  gallons  will  dip  1,000 
shingles  and  another  gallon  is  enough  for  a brush  coat  in  addition  after  the 
shingles  are  laid. 

A gallon  of  Lacklustre  will  cover  from  500  to  600  square  feet. 

A gallon  of  Luxeberry  Wall  Finish  covers  from  600  to  800  square  feet, 
according  to  the  nature  of  the  surface  on  which  it  is  used. 

A gallon  of  Luxeberry  White  Enamel  covers  about  600  square  feet  when 
used  over  a suitable  surface. 

While  the  above  figures  are  not  entirely  arbitrary,  they  will  serve  as  a reli- 
able basis  upon  which  to  estimate  quantities  of  material  required  for  a given 
surface. 

OPEN  AND  CLOSE  GRAIN  WOODS 

Elsewhere  we  refer  to  the  fact  that  woods  with  an  open  grain  require  filling 
with  a paste  filler,  and  that  close  grain  woods  do  not.  We  give  below  a list  of 
woods  embracing  those  most  commonly  used  for  interior  trim,  indicating  to 
which  class  they  belong — • 


OPEN  GRAIN 

WOODS 

CLOSE  GRAIN 

WOODS 

(requiring  the  use  of 

a paste  filler ) 

(requiring  no 

filler ) 

Oak 

Walnut 

Pine 

Gumwooi 

Ash 

Prima  Vera 

Maple 

Cypress 

Chestnut 

Butternut 

Cherry 

Sycamore 

Mahogany 

Birch 

Whitewood 

Redwood 

Hemlock 

Beech 

[39 


THE  PROPER  CARE  OF  LEFT-OVER  VARNISH 


Simple  Rules  for 
Keeping  Varnish 
in  Good 
Condition 


Cans  of  varnish  that  have  been  opened  and  the  contents  not 
entirely  used  should  be  carefully  corked  up  so  as  to  exclude 
the  air  and  prevent  evaporation.  If  the  cork  does  not  fit  the 
nozzle  opening  tightly,  wrap  a cloth  or  piece  of  paper 
around  the  cork,  for  if  there  is  the  slightest  air  hole  the 
varnish  will  become  heavier  in  body  as  the  solvents  slowly  evaporate. 

Varnish  that  has  not  become  too  heavy  may  be  reduced  with  Turpentine, 
but  it  is  much  better  and  easier  to  avoid  the  necessity  for  reducing  by  taking 
care  that  cans  are  securely  sealed.  When  reducing,  do  the  mixing  slowly  and 
stir  thoroughly  during  the  operation,  so  as  to  effect  a perfect  union  between 
the  varnish  and  the  turpentine. 

If  the  varnish  is  chilled,  place  it  in  a warm  room  long  enough  to  become  of 
normal  temperature  before  mixing.  This  same  precaution  should  also  be  ob- 
served in  handling  Turpentine  when  it  is  to  be  used  as  a reducer  for  varnish. 


FINAL  REMARKS  AND  SUGGESTIONS 

IT  will  be  noticed  that  in  this  booklet  only  simple  finishing  operations  are 
illustrated  and  described,  and  none  of  them  are  beyond  ordinary  skill. 
Only  three  or  four  finishes  are  involved — “Luxeberry”  or  "Berrvcraft" 
Enamels,  Luxeberrv  Wall  Finishes  and  Liquid  Granite  Floor  Varnish,  and  all 
of  the  artistic  finishing  treatments  shown  and  described  can  be  easily  pro- 
duced with  them. 

In  enameling  old  varnished  surfaces,  commence  with  a coat  or  two  of  Flat 
White  (Luxeberry  Enamel  Undercoat)  to  make  a solid  white  ground,  and 
follow  with  a coat  or  two  of  Luxeberry  Enamel  or  Berrvcraft  Enamel  of  the 
desired  color.  If  the  old  surface  is  in  bad  condition — cracked,  checked,  peel- 
ing, etc. — it  should  be  completely  removed  with  Apex  Varnish  and  Paint 
Remover,  given  a light  sanding  with  fine  sandpaper,  and  then  finished  as 
above  directed.  New  work  is  finished  in  the  same  way,  but  commence  with  a 
coat  of  good  Lead  and  Oil  Paint  and  then  finish  as  above.  By  tinting  the  white 
or  blending  other  colors,  any  shade  can  be  produced  with  our  Enamels. 

In  finishing  plaster  walls,  cracks  should  be  filled  with  plaster  of  paris  and 
then  shellacked  over.  If  walls  have  been  papered,  the  paper  must  be  com- 
pletely removed  and  the  walls  well  washed  to  remove  the  glue.  One  coat  of 
Luxeberry  Wall  Size  and  two  coats  of  Luxeberry  Wall  Finish  will  make  an 
excellent  finish  over  a proper  surface.  Special  shades  can  be  made  by  tinting 
the  white  or  blending  regular  colors. 

On  natural-wood  floors,  linoleum  and  oilcloth,  Liquid  Granite  should  be 
used.  On  pine  and  other  floors  that  are  old  or  discolored,  Berrycraft  Varnish 
Stains  ana  Lionoil  Floor  Enamels  are  well  adapted. 

On  furniture  and  bric-a-brac,  either  "Luxeberry”  Enamels  or  "Berrycraft" 
Enamels  can  be  used,  and  we  have  color  folders  giving  full  descriptions  and 
directions,  which  you  will  find  useful.  Write  for  them. 

40] 


AVERY  LIBRARY  v 
COLUMBIA  UNIVERSITY 


